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Monthly Archives: July 2012

Flying into 2012 with New Single After Record Breaking Year!

Los Angeles, CA — Singing sensation Jay Scott Berry rolls into 2012 with a new single and the momentum of a bullet train. With two hit songs currently riding high on major charts, three IMN award nominations and a full year of concerts, TV shows and singles ahead, there is no question that Berry has arrived.

Early last year, this talented artist burst upon the international music scene with his self-produced album, Keepsake and the first single, “Please Come to Boston”. Within a few months, the song had gone to #1 on three charts and Berry was gaining recognition. After a world tour which began in Australia and included concerts in Italy, Switzerland, Germany, Croatia, England, Ireland, Scotland and the US, it became clear that Berry was a force to be reckoned with in the industry. As 2011 drew to a close, Berry had another #1 hit single with his fresh rendition of “Solitary Man” and a third hit with his vocal performance of “Hallelujah”.

In many ways, the charts alone bear witness to this talented newcomer’s meteoric rise. Berry’s three hit singles amassed over 50,000 spins on US commercial radio in 2011. The December 29 issue of New Music Weekly Magazine show both “Solitary Man” and “Hallelujah” holding prominent positions on the Top 40 Main Chart, The Hot 100, the AC40 Main, the Indie Top 40 and the Indie AC40. The same is true on the FMQB charts, where both songs continue their strong upward momentum.

Berry rapidly emerged as one of 2011’s most popular voices on The Independent Music Network. He maintained a solid presence on the IMN Mainstream Top 30 charts for the entire year, spending most of that time in the Top 10 and often at #1. This chart action earned him three of the coveted IMN Award nominations for Best New Artist and Favorite International Mainstream Artist while “Please Come to Boston” was nominated for Favorite Single in the Mainstream Category.

The accolades from industry and fans continue to roll in as Berry adeptly charts his course for 2012. Like a master magician, with each successive single he pulls another rabbit from his hat.

As an artist, Berry displays a blend of talent, passion and sheer determination. In the highly competitive, rapidly changing world of modern music, he has somehow managed to carve a niche for himself. And against all odds, like a modern David, he battles on, “not against,” he insists, “but alongside” the Goliaths of the major labels. “I believe that there is always room for excellence in any field, especially the Arts.”

Excellence is something that Berry has pursued his entire career, as a singer, composer and showman. Here is a man who practically grew up on stage, dancing and singing at the age of three, acting by five and playing in a string orchestra at eight. In his early teens, he was singing in musicals and dancing in The Nutcracker at Reno’s Pioneer Theater Auditorium. As a professional entertainer, he has performed all over the world and, as a noted composer, even wrote and performed an original score for ballet at the Vienna Opera House.

But even now, with all this success and acclaim, Berry remains an enigma, surprisingly down to earth. Chopping wood at home, you would barely recognize him as the same man who recently played to SRO crowds at the 800th Venice Carnival or at the Earls Court Festival in London. Ask him about all this current success and he just laughs and says, “I’m just the fool who rushes in where angels fear to tread.”

With at least four more singles still to come off Berry’s acclaimed album Keepsake, all this momentum is set to continue well into 2012.

A Journey of Song, from Reno, NV to the Vienna Opera House

This talented entertainer has burst onto the international music scene with his debut vocal album, Keepsake. However, like many “overnight success stories” this one is many years in the making. The story begins in Reno, Nevada, where, at the age of 3, Jay was put into tap dance class. “I still remember the thrill of our first recital”, he reminisces “we were all singing and dancing and the audience was smiling and applauding. It was amazing! All I know is that, somehow, it felt right”. Right, indeed! Young Berry was a natural, performing in every school play and musical that came along.

Jay was given a magic kit at age 5, performed in his first professional stage play at 7 and joined a school string orchestra at 8. Recognizing a unique set of talents, his music teacher then arranged a successful audition for the exclusive Sierra Boys’ Choir. By his early teens, he was playing guitar and drums, acting, performing magic and singing in musicals.

All of this laid an essential foundation for a career in show business. Straight from high school, the limelight beckoned and he moved to Hollywood. Within 3 years, he was performing in Europe and living in Paris where his heartfelt style took hold and blossomed. Many thousands of shows later, Berry is an acclaimed producer and entertainer whose career has spanned the globe, having performed on many of the world’s top stages, from Las Vegas to Monte Carlo.

In the 90’s, Berry produced 3 acclaimed instrumental albums. Soon, he was in Vienna, composing music for ballet at the Vienna Opera House. One of his songs was used as a theme song for an Italian TV show. His timeless melodies have been heard around the world and continue to be used as film, video and theatrical soundtracks.

Now, with the release of Keepsake, the circle comes complete and Jay is back where he began, guitar in hand and singing from the heart. A master showman, he returns to his roots, with the raw passion of a teenager coupled with 30 years of real-world experience. “Growing up, I was strongly influenced by John Denver, Neil Diamond and Gordon Lightfoot.”, he says, “This essential, vocal- based, music has always stayed in my heart.”

As Jay’s music climbs the charts, he has just wrapped up a world tour which began in Rome in early March. He continued across Italy into Switzerland, San Marino and Croatia even performing at the 800th Venice Carnival! The European leg culminated in London with “The Full Moon Concert – A Romantic Evening Under the Stars”.

Berry has always taken the attitude of a pioneer in whatever field he focuses on. It is this “can do” attitude that defines who he really is. In a recent interview, he was asked about his personal secret to success. He replied, with characteristic flair, “The secret to success? We’d all love to be able to predict the future. The best way to predict the future is to create it yourself. I think that the secret to success is having the sheer audacity to imagine a goal and the stubborn determination to stick with it, in the face of all obstacles. Don’t wait around for someone to discover you. Be bold. Go out, grab the world by the horns and hang on. Have the courage to dream big. There is no such thing as false hope. One of the greatest things you will experience in life is the sense of true accomplishment; but you won’t get it unless you actually accomplish something. It won’t be easy, nothing worth achieving ever is. Nobody gets a free ride. With that in mind, let any adversity you face simply fuel your enthusiasm and determination. Don’t waste any time viewing others as competitors. You are your only competition. Don’t follow anyone. True Art is only achieved through unique individuality. You only fail if you give up…so don’t.”

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The “Sands Of Time” Collection.

The timber for “The Sands of Time“ project was cut at Mt. Fox near Ingham 1997. The concept of burning the history of Australia grew from a keen interest in the history of the land. It’s an original concept. Each individual piece is handcrafted, and the time spent on each piece is difficult to calculate. Perseverance and years of effort has now paid dividends in that we have a historical account of Australia using an old fashioned Australian art form, (pyrographic) that was used around the time the explorers and pioneers of our nation opened up, settled and built the colonies.

The frames surrounding the art were also being eaten out by termites at the same time as many of the historical events were taking place. They, the frames and the pyrographic portraits (burnings), are a true representation of this period of our colonial past (1788 to 1901 – The First Fleet to Federation). 1901 to 2001, one hundred years of Australia’s nationhood – our centenary of federation.

Let us celebrate these times and honour the memory of all the quiet achievers – past and present – “The Seeds of our Nation“. This artistic portrait of fine art is dedicated to and in memory of those who gave lives, toil and suffered hardships to build this great country, Australia.

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Our Country’s Garment

Robert On Facebook

Robert Morgan is an Australian artist, craftsman, musician and songwriter whose talents and collection of work promotes Australia’s heritage. His artworks have been exhibited at local and state levels, and as a musician he has featured on national television as a guest on the Nine Network’s The Footy Show.

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Robert was born in 1950 in Brisbane, Queensland, as the eldest son of Henry and Betty Morgan. He was quick to join the workforce by gaining full-time employment at just nine years of age, working 35-hour weeks delivering newspapers— the job he held while attending both, Clontarf Beach Primary School, and Clontarf Beach State High School.

Robert is 3rd row from back, second on the right. For full size image click here

Robert started his rugby league career in 1959, representing his school, club, and district— playing up to three games per week. He captained his primary and high school teams. In 1964, a spear tackle causing a broken neck put a stop to Robert’s rugby league days bringing an abrupt end to what would most certainly have been a professional sporting career. Despite the young player’s sporting dream being crushed, having a broken neck, and being encased in a full body plaster cast, in 1965 he still went on to complete his year 10 education as a foundation student at Clontarf Beach State High School.

Robert in cast, centre back row. CLICK TO ENLARGE

Robert completed a boiler making and welding apprenticeship 1969 and worked in several mines in Saraji, Dampier and Darwin. He then lived in Cairns and Tablelands in 1974, bought a truck and worked in various jobs in painting, welding, fruit picking, building, and timber work.

It wasn’t until recently that Robert became aware of his Aboriginality and is of Yuggera ancestry which is linked to the Rosewood Scrub, South East Queensland.

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Music has been part of Robert’s life as far as he can remember. As a guitarist, singer and songwriter, Robert has done many radio interviews and his music has been aired by Alan Jones (2GB Sydney), 3AA Brisbane, 6-12 Brisbane radio, as well as various community radio broadcasts. In 2005, Robert performed his song “The Greatest Game of All” live to thousands of spectators. This performance featured on the Nine Network’s Footy Show to a million of viewers worldwide.

Robert with his bass guitar in 1968, playing for the Country Graveyard. Check out the Paisley shirt and the Vase amplifier

At 15-years-of-age, Robert was already heavily involved in the Redcliffe music scene performing with three local bands. This led to forming the Brisbane based band The Country Graveyard – a musical group who was very well received. Their many accolades include: the Hoadley’s Battle of the Bands competition of ’68 and ’69, performing at the Brisbane Festival Hall for over 4,000 adoring fans, as well as opening for The Easybeats – the then top band in Australia.

During the height of their popularity, The Country Graveyard was featured in Go-Set, Australia’s first and most influential pop music newspaper. Nicknamed the “pop music bible”, Go-Set would be equivalent to today’s Rolling Stone magazine, and indeed spawned Australia’s first Rolling Stone magazine. Following their Easybeats opening, The Country Graveyard were approached by an up and coming entertainment executive who offered his support of the band. Unfortunately, an overall lack of support dissolved the band’s momentum to make it big. The band broke up in 1970.

Still as passionate about sport and rugby league as ever, this has been expressed in Robert’s music. He has penned many songs about the game he loves. He has written songs for the: Rugby Union World Cup 2003 & 2007 (including the “Wella Wella Song”, Rugby League World Cup 2008, State of Origin 2005 & 2010, as well as songs and anthems for many rugby league clubs.

Robert’s strong social conscience also led him to write the union movement’s “Workers Unite” song to protest against the Industrial Relations laws then enforced by the Howard government. Wanting to do something about climate change, Robert was also behind the protest song “Global Warning”.

At the tender age of 19, guitarist-singer Brodie Graham affiliates his upmost passion through blues music and his lack of age is certainly made up for in raw determination and ability. Having pushed himself to connect to music well before his age bracket and persisting on finding balance between feeling and technicality are decisive factors in shaping his playing. Exciting, expressive and enticing best describes his performances which are filled with traditional blues, funk and soul but brought into a modern context.

The Anaconda Fest was held Sunday the 15th of July, just behind us at the Royal Mail Hotel in Goodna;

A blues competition with a lineup consisting of Brisbane Blues Train, Fat Tuesday, Jimi Beavis, Mike Frost & the Icemen, MooMooPapa, and Rumblefish. An absolute honour to be playing with such an awesome set of musicians, we were lucky enough to take out the ‘competition’ and we’ll be playing the QLD Festival of Blues in Brisbane and Australian Blues Music Festival in Goulburn.

I can’t thank everybody enough, in which I fell far short in my pathetic speech.

Thanks to the bands, the judges, organisers ( you know who you are ), The Royal Mail and the audience.

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Over the year’s in Sydney I have seen the Live Music Scene dwindle. It has moved from the Inner City Area’s to its outer lying Region’s. The CBD has been taken over almost completely by Poker Machines, Disco Dance Club’s and Karaoke Nights. Most of the Live Music Venues Legendary for their support of the Music Industry have been forced to close their doors as they loose revenue that might have helped in them maintaining the (Historical, in some cases) venues in which Musician’s earn their living.

This has been going on since the mid 80’s. To combat this very visible demise (to those in the Industry) Music Festival’s begun to gradually appear in support of Live Music in Australia. Until the crisis came about there were Festivals, however mostly Folk and Blues Festivals. The other Festival’s that presented up and coming Band’s were almost non existent. The major Festival’s ran by Radio Station’s only featured Top 40 Australian Artists, yet by today’s comparison that is still good. To have a Festival with Australian Artists that actually made the Top 40 !

Currently air play of Australian Artists on Commercial Radio is only 25%, Overseas Artists receive 75% of Australian air play. Australian Commercial Radio doesn’t want to play any Australian Artist’s at all. Which isn’t surprising really as since the demise of most Australian Record Label’s Sony, EMI and the like stepped in, bought them out and liquidated them. This point in fact is akin to the current Mining Resources conundrum. The overseas Mining Companies take our Resources and 80% of their profit’s are taken overseas. When are we going to realise that Australia is being bled dry by Overseas intervention in our Society. Which culturally is not a good thing as other Sociological influences permeate and destroy our unique Australian Identity.

So this is where we are at … what can we do about it ? Musician’s are Musician’s and perform for the love of it, those that dream of the big time haven’t got their heart in the right place. Although it would be nice to be recognised for your talent, particularly within your own Country. It is sad that Australian Artists can’t afford to feed their family whilst Overseas Artists feed their family from Australian bread. I know many Australian Musician’s and most are struggling. The only way to make any money from their Music currently is through merchandise. To make money from merchandise though is not an easy task. You can put up a Web page, download to iTunes, have neat thing’s like Tee-Shirts, Cap’s, Stubbie Holders etc … but none of it will sell if they don’t know who you are ! So how do you become known in your own Country when Radio won’t let your own Country know that you are an incredible talent and out there ? Touring !

Touring is not an easy job either and, it is a great expense. You have Petrol, accommodation, ongoing Advertising, Lighting and Sound (if the Venue doesn’t provide it) and if you do a Festival you might have to get Public Liability Insurance, Pay for a Merchandise Table, an Application Fee and so many more costs. You will have to be on the road for month’s at a time to sell your Merchandise as well. Because in reality what the venues pay you never cover’s the cost of you being there. It is a hard slog too … most Tour’s are Coastal or Australia wide. Sleep becomes a luxury. Just ask the guy’s from “The Transvaal Diamond Syndicate”, Guthrie or Dallas Frasca !

I just caught up with Dallas in Queensland recently and she Jeff and Pete where on their 30th gig of their Tour to Promote their Album “Sound Painter”. A couple of month’s ago I caught up with TDS and Guthrie in their 34th gig …. and Christian told me at that time they had another 30 to go. (if I remember correctly) So selling merchandise is the sole reason you Tour ! Tour hard as well, because you won’t get too much air play. So go to the people and make Fan’s ! As Marshall O’Kell put it in one of his Gig’s recently … “Thank’s for being here everyone, please stop at the Merchandise Table on your way out. Every $10 spent is $10 worth of Diesel in the Tank to get back to you !”

Recently I went to Brisbane to catch up with some fellow friend’s and Musician’s there. It was great to see so much Talent in a relatively healthy Live Music Scene. They actually had Live Music Playing in the CBD ! However, hardly any of these Musician’s ever get out of Queensland. With the exception of the odd Music Festival or the very occasional Tour. I was thinking, “This is such a waste … especially when there are musician’s in other States that hibernate in the same way.” It crossed my mind that because Corporate entities and Radio Station’s control the talent we see, they make it harder to reveal the real Talent within.

Show’s like “Australia’s Got Talent”, “The Voice”, “Australian Idol” and the like are Run by Sony, EMI, etc … and only directing Australia’s possible emerging Artist’s toward’s an Overseas formula of what they think is successful. At the same time damaging our Cultural musical identity. They also sign each Artist to an airtight contract and ensure them against the failure of their first release. This mean’s that kid’s like Jack Vidgen who win will be forwarded the money to record, Promote, Publicise, pay themselves, the Technician’s, and all other associate members in team Jack.

But where can Jack Tour ? He can’t do a Pub or a Club, he won’t fill an Entertainment Centre, a Cafe’ is not on the card’s … so it’s the occasional Westfield gig for Jack ! Because he can’t Tour he won’t sell his Merchandise, he won’t get another Album released, but the Record Company makes money back on his failure. Yet he is still tied in to this airtight contract and perhap’s when he doe’s reach an age when he can succesfully tour they will release something new from him. But in the meantime Jack has gone from an ultimate high … to an ultimate low !!! He is only young and such a thing is bound to be Psychologically damaging. You can expect to be reading Jack’s story in “The Women’s Weekly” over the next few year’s about issues he has developed from this experience. Afterall how many people from these Show’s can you name ? Very few !

What we as Artist’s need to do is to unite and control each musical genre ourselves. In the process making it cheaper for Australian Artist’s to Tour. At the moment the only 3 genre’s that I can see that have a foundation to do this are Country, Blues and Folk. This isn’t because of my own personal preference in any way. This is because they already have a foundation laid. Each of them has a supportive Association, Federation or Organisation in each State. Something that Rock, and other genres sadly don’t.

Unfortunately the predicament these Fan based entities all have in common though is that they all have their own idea of how thing’s should be run. They never come together to look at the middle ground. It can get very Political at times. Genrally there are some Musician’s on the Committee’s of these bodies, but very few as a rule. Primarily because most musician’s have project’s of their own to do. They have very little time to devote to a Committee, especially if they are Touring. Therefore these Committee’s are run by a Fan Base that really has no idea what it is like to be a Musician, to live their life and the commitment and poverty that ensue’s with their choice to persue their art and their love.

Some of these bodies have been taken over by Promoter’s seeking new act’s for their own stable. Some of them are very disreputable and are only there to feather their own pocket. A handy thing to remember is that Promoter’s don’t get paid a wage. They only get paid their percentage after all cost’s have been deducted and all Band members have been paid. They do not take their percentage out 1st … the promoter is the last person to be paid ! Do not fall for that trick as what you get paid for your event is genrally a larger amount than what it is after everyone involved is paid. If a promoter is doing this to you … get rid of them and find someone reputable ! That is another reason why Promoter’s are infiltrating these Bodies. Because most up and coming Artist’s are unaware of their right’s and are easily manipulated.

I believe that the Committee’s of these bodies should be 60% retired or ex – Musician’s and 40% Fan’s. Get rid of the people with personal Agenda’s that they hope to be able to take advantage off by being in such a Committee.Musician’s should alway’s have a controlling interest in bodies such as these, only they know what is really fair. They can do this by asking themselves if they would do it.

It should also Foster and Mentor new talent. So don’t cut your tie’s with all promoter’s, just the disreputable one’s. The Musician’s in the Committee will know who is reputable and who is not. Foster new talent through Jam night’s, make it open to all. New member’s and a stronger foundation body will be the result. You will also be assured of the future of your genre as young musician’s step up and learn from the more experienced and professional members. Jam’s should not be made to be exclusively for professional’s, it doesn’t make sense. It will initially make you money, but it will be the demise of your genre as no up and coming Band’s / Musician’s will be gracing your stage anymore and your membership will dwindle.

So why am I writing such a long winded article ? I have an idea to take back what we have lost. At this stage I am only interested in hearing from The Blues Societies / Associations from the East Coast of Australia. All Blues Societies / Association’s look at your Committee’s fine tune them. Get rid of member’s that are causing you problem’s through their own personal agenda’s. Reach out to each other State to State. Find sponsor’s preferably from Airline’s, Hotel’s / Motel’s, Music Publication’s, Radio Station’s, and find at least 2 or 3 Live Music Venues in each State that has a cappacity of at least 300 – 400 people. (If we have to start lower it might be precarious)

Then start a “Blues Exchange” program ! This program will fly 2 artist’s from each State to another to appear as either the Support (or headline … depending) at a Pre-sale event promoted widely for 2 month’s Prior. Who you send could be through an event in itself. A competition in which the winner get’s to do one of these gig’s. They would have to be pre-planned 6 month’s in advance and constant communication must be maintained with all Associations and Societies.

It would culminate at the end of each year with an Award’s night and the winner’s of those Award’s if agreeable would be off on an East Coast Tour. The Award’s should bring the Sponor’s in. The initiative might even get some form of Government Funding. It will keep a high number of Artist’s working up and down the coast all year, Artist’s that other State’s haven’t seen before. Which is good from the point of view of Publicity for the Artist’s, Sale of their Merchandise as well as Networking opportunities that might well bring them back.

But remember to take back what we have lost we must think Nation-wide not just locally. If the East-Coast trial succeed’s I am sure all the other Blues Association’s / Societies will follow … and they will be readily recieved. But to make this happen successfully all bodies must clean house and remove political wrangling from their door. Get rid of those who have personal agenda’s and seek the advice of a Musician not a Promoter in your Committee. This is all to be done for the common good of the Australian Music Industry. President’s of each Association / Society reach out and contact each other. I have talked to some of you … the question is how far are you really prepared to go for the greater good ? Music and your Association / Society will prosper from this. Once it is fine tuned it can then be utilised on other genre’s.

If you want to discuss this with me further … re; Sponsorship, Contact’s, Brainstorming, …. anything at all just email me tommcleod@y7mail.com and I will be more than happy to discuss it with you further and listen to your idea’s !

Leanne is back to ‘Folk n Funk’ around with your minds and souls!Each song is delivered with such passion wrapped up in a kind of sweetness that ti brings thoughts of Amy Winehouse and The Waifs to mind
Original Acoustic Folk with dirty sounding Blues bleeding through.

Leanne is the Winner of Port Douglas Carnivale Songwriters comp. 2011 and is currently a feature artist on the A-Venue website. She was chosen by A-Venue to be flown down to attend Australia’s biggest music networking event, Big Sound 2011 and has been chosen by BigSound organsiers to perform on the A Venue stage at this years event, representing Cairns.

Last year she toured down to Tamworth Music Festival with the Hillbillygoats and is currently on her first tour of Cairns to Brisbane. She has worked with artists such as Jenny Morris, Daryl Brathwaite and Bill Chambers. In the past year Leanne watched her song “Mister, Mister”, reach #7 in the “top 10 most ordered tracks for airplay” via AirIt, the Australian Community Radio portal. Earlier in the year her song Breathe also reached #1 on the JJJ Unearthed “Roots” charts and she is currently receiving airplay all over Australia on community radio.

Leanne Tennant is an original singer songwriter with a range of unique covers. Her songs are delivered with such passion, wrapped up in a kind of sweetness brings Amy Winehouse and The Waifs to mind. Her cocktail of acoustic Folk/Blues with a twist of Jazz will leave you wanting more. She will rip through her catchy guitar riffs and take you on the highs and lows of her journey with her cheeky lyrics and raw honesty.

“Leanne Tennant is a serious Australian talent. Her lyrics express exactly what she feels and she sings with a unique voice that immediately grabs your attention. Listening to her E.P., “Are You There?” has made me a true believer.” Bill Chambers – The Dead Ringer Band (and father to Kasey Chambers)

“We called into the ‘12 bar’ during the Cairns blues festival. It was an incredible scene with a rocking band fronted by a sassy rockabilly gal called Leanne Tennant. She had the crowd eating out of her hand, and within minutes so were we!” – Jimi Hocking (The Screaming Jets & aka The Machine)

After completing a Performing Arts course in New Zealand, Tim toured extensively around both islands with great success. Moving to Townsville he quickly established a name for himself as a popular local artist.

Throughout his career, Tim has performed with many International artists from bands such as Thin Lizzy, Katchafire and Herbs, and has industry friends and collaborators such as Thirsty Merc, Shihad and UB40.

Tim has performed at all the major music festivals in North Queensland, Tim has residencies as a soloist at a number of local hotels, as well as playing with local band Stoneface, and working as a duo with Mark Wyer, who is the principal keyboard player at the Townsville Civic Theatre.

His significant press coverage in the local print media, and local Radio stations has had his newest release picked up for broadcast. This exposure has helped cement Tim’s reputation as one of North Queensland’s foremost entertainers. moving to 2012 tim has now recorded his debut album through black market music .

The Album, “Castle Hill Blues” features Mark Greig from Aussie Grawl on lead guitar and was mixed and engineered by Mike Letho (Rockwiz, Paul Kelly, Darryl Braithwaite, Underbelly) the 3 tracks available are from the album castle hill blues. enjoy !

Have you heard our song DRUMS yet? Yes / No? Head to the triple j website, click link, turn it up loud, dance… repeat.

OH MERCY – GREAT BARRIER GRIEF

“Listening to Great Barrier Grief is like sailing on a beautiful boat on a calm blue sea under a cloudless sky. Only there’s a shadow moving under the water. Something dark and hidden ready to strip the flesh from your bones before they wash to the shore.” Paul Kelly

Great Barrier Grief is set for release on 4 March, 2011.

“Great Barrier Grief is certainly not an eco-warrior title, but instead a reference to a point in time; a challenge to overcome, or a complex situation,” says Alexander Gow. “It’s meeting an incredibly beautiful person, but having a mental or physical barrier between you.”

With its title more than just a play on words, the second album from acclaimed Melbourne band Oh Mercy promises to be one of 2011’s most exciting releases. Eleven tracks of evocative acoustic pop Great Barrier Grief was inspired by the Australian ‘sound’, and our way of life: the classic songs and songwriters who’ve soundtracked our lives. Timeless in feel, Great Barrier Grief is a confident, purposeful album.

Eventually, with 30 songs under Gow’s arm the album was ready to take final form. Enter one of America’s most respected producers, suggested to the band by a mutual friend: Mitchell Froom.

Having recorded albums with the likes of Pearl Jam, Elvis Costello and Sheryl Crow – not to mention recording Crowded House’s seminal self-titled debut – Froom was the perfect choice to help guide Oh Mercy in their next endeavour. Gow decamped to sunny Santa Monica, working out of Froom’s home studio and whittling the 30 tracks down to a final 12.

“Mitchell was and is a wonderfully generous, kind and talented man,” says Alexander. “I consider myself privileged to have worked with him, along with his half-man/half-wizard engineer David Boucher. I think we made a very good album of simple arrangements, lots of acoustic guitar, lots of words, some marimba, and a healthy amount of congas.”

Two tracks from the record, ‘Keith St’ and ‘Stay, Please Stay’, will already be familiar to triple j listeners. Live favourites on the road, the songs have been given a brand new life as captured by Oh Mercy and Froom on the new longplayer.

Inspired by the sort of classic Australian albums which shape our history, Great Barrier Grief marks a whole new horizon for Oh Mercy, and the songwriting journey of Alexander Gow. Paul Kelly, arguably Australia’s most respected songwriter, agrees, recently naming Oh Mercy in The Age EG as a new band who inspires him to write.

“Making this record, it’s a different mentality,” says Alexander of Oh Mercy’s latest effort. “We know people are going to hear this album, whereas with the first we thought maybe it was just going to be my mum and a few friends. That mentality changes the way you write a little bit – it’s more exciting. We wanted to make a record with someone who isn’t simply interested in pop music, but the integrity in pop music… and I think we’ve done that.”

This week Oh Mercy main man Alexander Gow popped into the triple j studios to chat to Tom & Alex. It was an action-packed visit with Gow covering a broad range of topics from Catholic priests to beer bongs and semi-nude women. He also learnt how to ride a bike.
Thankfully he did eventually find some time to talk about Oh Mercy’s forthcoming album Deep Heat by giving triple j the world premiere of lead single ‘Drums’.
Gow said the new track, along with the rest of the album, was heavily inspired by songs from the 70’s and 80’s and his late-night party playlists, ” I’m the guy at the house party with the iPod… so it’s no surprise that the album sounds like it’s coming from that direction.”
But like the album artwork that accompanies the new release, Oh Mercy’s new music also has a visual purpose.“I just love seeing people respond with their bodies to music. I care about words as well so when I’m playing those kind of songs [from the 70’s and 80’s] sometimes I wish they had tried a little harder with the words. Why can’t you have this really groovy music and care?”
Oh Mercy will be heading out on the road in support of the new release this September and October which see them visit every state and territory the country has to offer. Check out their full itinerary below:
Fri 21 Sep The Zoo Brisbane
Sat 22 Sep Joe’s Waterhole Sunshine Coast
Wed 26 Sep Heritage Hotel Wollongong
Thu 27 Sep Cambridge Newcastle
Fri 28 Sep ANU Bar Canberra
Sat 29 Sep The Standard Sydney
Sun 30 Sep Clarendon Hotel Katoomba
Thu 4 Oct Settlers Tavern Margaret River
Fri 5 Oct Norfolk Hotel Fremantle
Sat 6 Oct Bakery Artrage Perth
Thu 11 Oct The Gov Adelaide
Sat 13 Oct Karova Lounge Ballarat
Thu 18 Oct Republic Hotel Hobart
Fri 19 Oct Bended Elbow Geelong
Thu 25 Oct Hi-Fi Melbourne
Sat 27 Oct Railway Club Darwin

Sweethearts play new soul – a fusion of styles based around classic soul and Motown. They take classic sounds and bring them to life in fresh, unexpected ways.They mainly play in a Motown inspired style, a central part of the world’s music heritage but one rarely heard live. The sound of young America has become the sound of young Australia – Geelong’s Motorcity Soul. The Sweethearts released their eighth CD, “Secret” in late May, 2010 their original title track went to number one, on Triple J’s “unearthed” chart within two weeks of release. They will be releasing their next CD in November 2012.

For the past fifteen years they have been playing loving homage to Motown, developing a unique perspective on a cornerstone of 21st Century music that has infused their own compositions and arrangements. Sweethearts are deeply respectful, yet adventurous. With their unique soul fusion sound they have redefined what is possible.

The girls have received accolades over four tours of Europe. They have played the prestigious Montreux Jazz and Poretta Soul Music festivals three times. They’ve also captivated audiences at the Luzerne Blues Festival and Parma Summer Festival. They are constantly in high demand to appear at festivals and corporate events thoughout Australia. Sweethearts have redefined the possible throughout their twenty two year existence. They are the only school band that operates exclusively in professional settings.

Sweethearts are based at Matthew Flinders Girls Secondary College, Victoria, Australia, where members can study Certificate IV in music, the highest industry based musical qualification available in any school in Australia.

LATES watch our video here

“Sweethearts bring a fresh excitement to the Porretta Soul Music Festival….they have so many fans here in Italy”

Graziano Uliani, Festival Director

“The whole Sweethearts experience truly is an inspiring phenomenon……..we recommend them with enthusiasm as a great addition to any festival program”Jamie McKew, Festival Director, Port Fairy Folk Festival 2011

“Sweethearts produced the most exciting moment of music I have ever witnessed in seven years of operation at the Helen MacPherson-Smith Theatre” Rex Hardware, Arts Academy, University of Ballarat “These gals are brilliant…they blew the crowd away at Soul a Go Go!”Vince Peach, Australia’s leading Soul Music authority, Soul Time PBS 106.7

“We couldn’t have been happier with the girls’ performance. They stole the show.”

The International Songwriting Competition (ISC) is the world’s leading songwriting competition, with over $150,000 in cash and prizes!

Description

The International Songwriting Competition (ISC) is an annual song contest whose mission is to provide the opportunity for both aspiring and established songwriters to have their songs heard in a professional, international arena. ISC is designed to nurture the musical talent of songwriters on all levels and promote excellence in the art of songwriting. Amateur and professional songwriters and musi…cians are invited to participate. ISC has the most prestigious panel of judges of all the songwriting and music contests in the world, offering exposure and the opportunity to have your songs heard by the most influential decision-makers in the music industry. 68 winners will share $150,000 in cash and prizes! ISC is a great opportunity for songwriters, musicians, and performers to win cash and prizes, further their music careers, and gain recognition and exposure in the music industry.

ISC is the premier international songwriting competition in the world, offering more categories, the largest cash Grand Prize, more international winners, and the most prestigious judges of any songwriting competition.Prizes include over $150,000 in cash and prizes, including a $25,000 (US) cash Grand Prize.
Renowned for its high caliber of winners and judges, ISC offers you the chance have your music heard by some of the most high-profile and influential figures in the music industry, from iconic recording artists to record label presidents!Previous ISC Winners’ Success Stories:

Gotye is currently all over the Billboard charts with his album Making Mirrors and the single “Somebody That I Used to Know” featuring Kimbra (also an ISC winner)

The Band Perry signed with Universal Republic Nashville. Their Grammy-nominated track, “If I Die Young,” entered into ISC, hit #1 on the Country and AC charts and went to #12 on the Pop chart! Their album went Triple Platinum, and they performed at the 2012 Grammys.

Kate Miller-Heidke signed with Epic.

Gin Wigmore signed with Motown/UMG. Last year she had the highest record sales of any artist in her home country of New Zealand.

The Weepies signed with Nettwerk Records.

King Charles signed with Universal Republic.

The Rescues signed with Universal Republic.

and many, many more…

ISC 2012 JudgesRecording Artists: Tom Waits, Nas, Jeff Beck, Bruce Hornsby, Martina McBride, Keane, McCoy Tyner, Wynonna, Michael W. Smith, Suzanne Vega; Bill Evans, Billy Currington, Robert Earl Keen, Janelle Monae, Baement Jaxx, Duran Duran, Robert Smith (The Cure), Alejandro Sanz, Matt Thiessen (Relient K), Toots Hibbert (Toots & The Maytals), John Mayall, Jeremy Camp, James Cotton, Black Francis (The Pixies), Craig Morgan, Darryl McDaniels (Run DMC), Tegan and Sara, Sandra Bernhard, and more to be announced…Industry Executives: Monte Lipman (President, Universal Republic Records), Brian Malouf (VP A&R, Walt Disney Records); Bruce Iglauer (Founder/President, Alligator Records); Angel Carrasco (Sr. VP A&R, Latin America, Sony/BMG); Cory Robbins (Founder/President, Robbins Entertainment); Steve Smith (VP of A&R, Aware Records), Dr. Demento (Radio Host, The Dr. Demento Show); Anastasia Brown (Music Supervisor, FORMAT), Steve Lillywhite (Producer); Allison Jones (VP of A&R, Big Machine Label Group); Kim Buie (A&R and Artist Manager, Thirty Tigers); Leib Ostrow (CEO, Music For Little People); Douglas C. Cohn (Sr. VP, Music Marketing & Promotion, Nickelodeon); and more to be announced…ISC categories include: AAA (Adult Album Alternative), Adult Contemporary (AC), Americana, Blues, Children’s Music, Comedy/Novelty, Country, Dance/Electronica, Folk/Singer-Songwriter, Gospel/Christian, Instrumental, Jazz, Latin Music, Lyrics Only, Music Video, Performance*, Pop/Top 40, R&B/Hip-Hop, Rock, Teen**, Unsigned Only*** and World Music.Please note: You may submit as many songs as desired in each category or enter the same song in more than one category.
*This category is based not only on songwriting but also the overall performance and delivery of the song. All genres of music are accepted in this category. **All songwriters entering the Teen category must be 18 yrs. old or younger by December 31, 2012. All genres of music are accepted in this category. Entering this category does not exclude you from entering other categories as well. ***Any song entered into the Unsigned Only category must also be entered into at least one other category. Entrants in this category cannot be signed to major label record company or have distribution through a major label or its affiliates.

Melbourne’s Dallas Frasca was pumped to announce the official release of her sophomore album “Sound Painter” on Friday May 4th through Spank Betty Records / MGM. With lead single “All My Love” still blasting across radio airwaves. It after took out 3rd place (from over 16,000 entries) in the International Songwriting Comp, recorded in New York City with Australian producer Andy Baldwin (Bjork, Chrissie Amphlett, Living End, Kram, Cat Empire) at Rola Pola Studio’s in Brooklyn, “Sound Painter” has been a true labor of love for everyone involved. But the results speak for themselves. Indeed, from the comedic to the heartbreaking, the making of “Sound Painter” has been beset with challenges and journeys.

Firstly, following a run of national shows to help pay for the record, Dallas and band mates Jeff Curran (guitar) and Peter McDonald (drums) arrived wearily home only to have all the takings from the entire tour stolen at Melbourne airport. Enter fan based damage control with Frasca fans banding together and raising over $4500 for the band. $4500 that meant “Sound Painter” could actually be finished !!

Then, when it was finished, it was stolen. That is to say – upon returning from New York, the band held a listening party to pick the first single and the laptop with the only completed version of the album was stolen by someone at the party. Long story short is that the laptop was returned with ‘no police involvement’ after simultaneous mild heart attacks from all three band members.

“It’s been 2 1⁄2 years since our first album, (2009’s “Not For Love Or Money”) say’s Dallas, but we took away any deadlines and pressure. We let the songs dictate when they were ready to be recorded. By way of just playing, we overhauled the band’s sound.

Jeff (Guitar) and I have been playing together for over 6 years now. We made a decision that this album would be about capturing everybody’s true strengths as musicians.

Jeff had his last alcoholic drink, we got serious about what we wanted to achieve and when Pete (Drums) came into our lives, it was like our stars has aligned. I feel people have only been able to hear 10% of what we are capable off on our previous recordings compared to this one.” And so, after months of rehearsal’s in Footscray, the band headed off to record “Sound Painter” next to the Willliamsburg Bridge in Brooklyn, New York. This was with a producer they had met after playing a raucous 2 am set at a hippie festival in regional Victoria.

Within the first 10 minutes of leaving the airport in New York, a rock was thrown from an over pass, smashing their cab window. It was on. Again, in Frasca’s words: “We had to ride our pushies 7 km’s through Manhattan every day from our accom to the studio, and then back again at night. The change of scenery, from Melbourne to Manhattan, Footscray to Soho, was inspiring and it gave Jeff, Pete and I the chance to create anything we wanted to. You can hear that confidence on the record.